Willard T. Sniffin designed this extra condensed art deco typeface for American Type Founders in 1932.

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A revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic, Lexington is the ultimate art deco expression of the high times of signage and theater during the first half of the twentieth century. Big feminine caps and cozy direct minuscules make for a unique combination rarely found in other deco faces.

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I finally managed to create a font from the characters I wrote on my Etch A Sketch board.

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The new distressed typewriter font Ollivette is inspired by a beatnik poet sitting on a beach in Mexico pecking away at his brand new, imported, Italian portable typewriter in 1954. That’s where the basic letterforms for this font hearken from. The grungey patina has been added over the years and is now available for you to download in font format.

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This family was inspired by the set of fonts used in the end of 1800s by the famous J. H. Geiger, printer in Lahr (Germany), especially these used to print an almanac for the year 1883. It is a Fraktur pattern, with two styles, as a few others incomplete fonts also used for this work were Blackletters from other patterns. Both were used in two size, for titles, subtitles, main text and notes.

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If you thought you heard someone callin' your name just now, you might have caught the firm but soft spoken tones of Comicraft’s classy balloon lettering font, HushHush.

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Liza, lettres d’amour

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P22 Zaner is based on ornamental penmanship as taught by Charles Paxton Zaner at his art college at the turn of the 20th century.

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C. Winkow designed Reporter for the Wagner foundry in 1938.

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Taroca pronounced (Tah-Row-Kuh) is a word derived from the Italian word for Tarot.

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Shipley is based on Kennerley, which is regarded by some as Goudy’s most beautiful type, but which seems to have suffered from desuetude in recent decades.

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The Iron Family is a revival of two classic wood type fonts, but with a modern necessity: the addition of a lowercase character range.

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Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany.

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Freak was originally released by The Great Western Type Foundry in 1889.

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Based on the Europa Grotesque series circa 1960.

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From nautical folklore the Flying Dutchman is a ship that can never go home and doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions writen over the years, some versions date the legend to the 1640s or the early 1700s.

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‘X’ marks the spot -- and the height of the lower case letters -- in this cartographic calligraphy mapped out for you by lettering landlubber Jolly ‘JG’ Roshell and his trusty crowquill.

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Its manuscript and informal profile emphasizes its sweet and feminine style.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Based on the S. H. de Roos design, Amsterdam Foundry circa 1923.

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Whether you prefer Drip or Automatic, there is nothing quite like quality Coffee Service!

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Nick Cooke’s G-Type foundry continues to trailblaze and top of the sales charts is the fabulous Olicana typeface.

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Michael Doret had been doing lettering in styles similar to Metroscript in his design work for many years, but with the advent of OpenType technology he realized that he could actually put together a script font that would finally do justice to this style, and be almost indistinguishable from hand-lettering.

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Wrap your chilly fingers around this ultra cool swingin' typeface! Cocktail Shaker is a swanky retro connecting script born out of 1950s lounge culture. Often referred to as the ‘googie’ look, Cocktail Shaker blends a casual loungy script with clean readability and a twist of modern Atomic Age charm.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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LeKing comes with an EPS Set with 24 vector ornaments.

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Sometimes you need to gild the lily, add a little drama. With that in mind we’ve created a collection of flourishes & embellished letters to enhance Nelly Script’s romantic appeal.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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Although initially inspired by the neon sign in front of Canter’s Delicatessen in Los Angeles, the design of Deliscript Upright and Deliscript Slant soon took on a life of its own–and its own distinctive look. Like its sibling Metroscript, Deliscript has many features that expand its usability such as the the variable length tails which can be accessed in 6 different styles, and the never before seen crossbars which can be extended outward in either direction from the lower case “t”. Throw in the special “WordLogos”, tons of ligatures and foreign accented characters, and you have a recipe for typesetting that approaches the look of hand-lettering. For a better understanding of its unique features please download The Deliscript User Manual—available in the Gallery section.

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Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time.

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Nelly is a beautiful yet sensible romantic, clearly hand drawn but easy to read. She’s a bit formal but not stuffy and simply adores a lovely party.

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These 3 weights were developed as the corporate typefaces for a design company in 1997. The starting point was the word ‘accent’ in lower case. It is essentially a sans typeface with the thick/thin contrast of a serif and is the only family in the G-Type collection that was designed for a client.

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters (that won't share the baseline with lowercase letters), wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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Grafika is a completely original design, done in an “Art Deco” spirit reminiscent of the 1920s and ‘30s. I designed Grafika many years ago to be typeset for title cards, and both opening and end credits for the Merchant/Ivory feature film “Savages”. After the film, the design languished in my archives until I rediscovered it. I have digitally redrawn Grafika, completing it with all the alternates, ligatures, math, foreign accented characters and punctuation that weren’t required of the original design for film. Grafika is strongest when set in upper and lowercase—its unique caps extending below the baseline—although all caps settings are encouraged as well.

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Distinctively Art Nouveau with a touch of Arts & Crafts, Quaint Gothic is a typographic gem from the late nineteenth century. Also known as Desdemona, this undulating and organic typeface is a versatile and refreshing alternative to many of the font designs on the market today. Quaint Gothic comes complete with an alternate set of caps and a new set of lowercase characters. And for your convenience, a nifty set of small caps and small figures are included in this version. You may also want to access the word-on-a-wave logotypes like “to” and “and” located in the special character slots. They’re great for constructing provocative headlines and titles.

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Scotch Modern is a revival of the typeface used in the book New York State Cabinet of Natural History.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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An antique letterpress typeface digitally recreated with various grunge variations for a versatile font family.

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Inspired by an example of French handwriting ca. 1935.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, menus, bulletins, magazines, greetings, announcements.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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Fakir is a Hindu ascetic or religious mendicant, especially one who performs feats of magic or endurance. The well known feats performed by them include sitting steadily on a bed of nails and walking on burning coals.

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Font designed after the face of a few characters of a real old 1913 small portable typewriter.

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This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. All the experts said it was the best and more complete set of the time. The italic style used with was Granjon’s, like in 1543 Humane Jenson. Added are a few fleurons from the same printers.

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Inspired by the logotype from the movie Staying Alive, comes this digital broadway lights style font family known as Digital Disco, (ok, so it was really Saturday Night Fever, the Prequel that was Disco). My favorite scene is when John Travolta bumps into Sylvester Stallone in the beginning of the film. Just look at this typeface and think...“You could be dancing, YEAH!”.

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The original Ronsard Crystal began its life as a single-weight VGC photo display font in the 1950s.

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The new Declaration font set from P22 features two lettering fonts based on the Declaration of Independence of the United States of America.

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Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Chikita greets you with big, happy eyes, and all the energy in the world. She wants to skip the talking and get to the dance floor, where she owns the beat and sways like a tongue of fire. She doesn't settle for anything less than everyone in the room fixating on her, and every pair of eyes is indeed happy to oblige. Being both the noumenon and phenomenon of the party, she remains in your mind long after closing time. And you just know the next time you see her your heart will skip a beat and a welcome wave of contentedness will wash over you.

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Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!.

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